Just in time for the North American premiere of Joss Whedon’s THE AVENGERS, Cinematic Sound is proud to present music from comic book films and TV shows including the Cinematic Sound premiere of music from THE AVENGERS by Alan Silvestri. You will also hear extended suites from THE SHADOW by Jerry Goldsmith, THE LEAGUE OF EXTRAORDINARY GENTLEMEN by Trevor Jones, Danny Elfman’s Academy Award nominated score to MEN IN BLACK, THE X-MEN TRILOGY featuring music by Michael Kamen, John Ottman and John Powell, Alan Silvestri’s powerful score to JUDGE DREDD, unreleased music from SPIDER-MAN 3 by Christopher Young, THE PHANTOM by David Newman and Christopher Drake’s brilliant WONDER WOMAN. We will also be playing a rare concert arrangement of Jerry Goldsmith’s SUPERGIRL suite conducted by Roy Budd and performed by the London Symphony Orchestra. During the course of the program you will also hear short selections from SUPERMAN by John Williams, THE FLASH by Danny Elfman, FANTASTIC FOUR by John Ottman, BATMAN: GOTHAM KNIGHT by Christopher Drake, Robert J. Kral and Kevin Manthei, Bear McCreary’s THE CAPE as well as many others.

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About the Author

Erik is the host and producer of the soundtrack radio show ’Cinematic Sound.’ The show is heard exclusively on-line and on-demand after spending its first ten years on terrestrial radio at C101.5 FM in Hamilton, Ontario. Erik has a broadcast journalism diploma from Mohawk College and has spent his professional career in the video production industry working as a producer, camera operator and editor.

It does sound horrible. The trumpets are in the wrong channel and everything sounds so pinched. If I didn’t tell you would wouldn’t know that the LSO was performing that particular piece. Terrible but a great arrangement.

This is a great idea for a show, and you pulled it together masterfully (no surprise there, but still true!).

I think Williams’ SUPERMAN march is just about the most perfect piece of film music ever composed. It never, ever fails to give me goose bumps and to stir up my sense of wonder. Perfect choice to lead of this episode! (And I actually thought that “Supergirl” suite wasn’t such a bad recording. I never knew, actually, that Goldsmith was the first choice to score “Superman,” but it makes all kinds of sense. In some parallel universe, film music history looks – or, rather, sounds – very different…!)

Is it just me, or does that first X-Men cue in hour 2 start off with more than a little “Knight Rider” vibe? What is your opinion of the “X-Men: First Class” score? I guess it’s not the most novel or varied score (it’s no Superman), but I sure do like that main theme in the training montage, the end credits, etc. I’ve enjoyed it on my mp3 player.